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Peter specialises in research focusing on materials, making, manufacturing, luxury goods and artworks.

Dr Peter Oakley is Reader in Material culture at the Royal College of Art. He specialises in ethnographic research focusing on materials, making, and manufacturing, especially relating to the production of luxury goods or artworks.

Peter has undertaken research on contemporary applications of traditional craft skills, the introduction of digital manufacturing technologies, the impact of ethical sourcing certification programmes, and the implementation of circular economy principles across the creative industries. He has undertaken field research in Alaska, California, China, Hawaii, Kazakhstan, New Mexico, Sweden, Switzerland, Thailand, and the UK. 

Peter is currently the Co-Lead for the Material Engagements Research Cluster at the RCA and heads the international 'Thai Textiles' research project.

Research projects


More information

Peter was awarded a PhD in anthropology from University College London in 2013.

His doctoral thesis explored the creation and destruction of gold jewellery as an

aspect of material culture. Since then, he has explored different aspects of fine

jewellery and luxury watch industries and their supply chains. Peter's interests in this

area include: the circulation of gold; the nature and history of precious metal

assaying technologies and their role in contemporary gold industries; artisanal and

small-scale gold mining; and the growth and impact of ethical sourcing certification


He has also undertaken research on wider contemporary manufacturing. This

includes examining the role of craft skills in the production of luxury goods,

identifying responses to the introduction of new technologies in commercial contexts,

and exploring the creation, structure, and evolution of specific manufacturing clusters

in the UK and China.

Peter has held a long-term interest in industrial heritage sites, stemming from his

work with the Cornish Mining WHS (2006-2008). He has since researched gold

mining heritage sites in Alaska, California, Sweden, and Wales, the jewellery districts

in London and Birmingham, and the repurposing of industrial sites as cultural venues

in Shanghai and Jingdezhen.

Peter has an extensive knowledge of manual making skills and material sourcing

and processing relating to a range of materials, including metals, ceramics, glass,

leather, and textiles. This has been utilised in international development projects in

Kazakhstan, the Philippines, and Thailand, funded through UKRI's Global

Challenges Research Fund or by the British Council.

Linking Landscapes to Cultural Creative Sustainability (2022)

Role: UK Partner

Call: British Council Woven Networks Scoping Grants.

The project scoped the practices and needs of Filipino craft weavers using non-wood forest

materials to support more sustainable forest management practices.

Ethical Gold & Government Policy (2021-2022)

Role: Principal Investigator

Call: UKRI Strategic Priorities Fund

An investigation into how ethical gold certification schemes and jewellery and watch industry initiatives interact with regional, national, and supranational government policies.

Thai Textiles (2019–2022)

Role: Principal Investigator

Call: RCA GCRF Development Scheme

A partnership with Thai academics, identifying locally sourced sustainable raw materials suitable for craft weaving and creating and digitising a collection of woven samples using these materials.

Sustainable Materials in the Creative Industries (2020-2021)

Role: Principal Investigator

Call: AHRC Where Next? Scoping Future Arts and Humanities Led Research

The project team scoped current and immanent sustainable practice around the sourcing, use, disposal, recycling, and reuse of materials across the creative industries.

Crafting Futures – Wider Europe (Central Asia) (2019-2021)

Role: Field Researcher (Kazakhstan)

Call: British Council Crafting Futures Programme

A team of RCA and Leicester University researchers undertook fieldwork in Central Asia to identify local contexts for craft and the issues faced by Kazakh, Kyrgyz and Uzbek craftworkers.

4Cs: From Conflict to Conviviality through Creativity and Culture (2017-2021)

Role: RCA Lead and Project Manager

Call: EACEA Creative Europe EU Large Cooperation Projects.

A transnational project that explored how training and education in art and culture can reflect on, and respond to, conflict through audience participation and co-production.

Industrial Heritage in Shanghai and Jingdezhen (2019)

Role: Principal Investigator

Call: RCA GCRF Development Scheme

Fieldwork in Shanghai and Jingdezhen to examine the re-purposing of disused industrial buildings to house cultural institutions and how the practice related to local political contexts.

Art Fair Innovations (2019)

Role: Co-Investigator

Call: AHRC UK-China Creative Industries Partnership Development.

The AFI research team from the RCA and Shanghai University examined the context, management and delivery of Shanghai’s West Bund Art and Design Fair.

Ethical Gold in Scotland (2018-2019)

Role: Principal Investigator

Call: RCA RKE Development Fund

An exploration of the impact of ethical gold campaigns & certification initiatives in Scotland through fieldwork amongst practitioners, lecturers and professional bodies.

Fair Luxury at the RCA (2018)

Role: Event Convener and RCA Project Manager

Call: RCA GCRF Development Scheme

This industry-facing conference, run in partnership with Fair Luxury, focused on ethical sourcing in the jewellery industry.

Improved Laser Printing Equipment for Ceramics (2017-18)

Role: Co-Investigator

Call: AHRC Follow-on Funding Creative Economy Highlight.

Prototyping design improvements for current ceramic laser printing machines and identifying technical specifications for the next generation of printing equipment.

ArcInTex European Training Network (2014-18)

Role: RCA Participant Contact

Funder: H2020-MSCA-ITN

The international ArcInTex ETN consortium funded and hosted 15 PhDs researching intersections between architecture, interactive design, and textiles.

Erasmus+ Staff Placement (2017)

Role: Placement Sponsor & Host

Call: EACEA Erasmus+ (staff or teaching mobility).

Dr Antonella Camarda, lecturer at the University of Sassari & Director of the Nivola Museum, undertook a two-week placement as a tutor at the RCA.

Extending the Potential of the Digitally Printed Ceramic Surface (2015-2017)

Role: Co-Investigator

Call: AHRC Standard Grant.

An exploration of the commercial potential of digital printing for decorating high-value ceramics, including identifying social & technical barriers to adoption.

Materializing Time (2014)

Role: Principal Investigator

Call: RCA Research & Knowledge Exchange Costs

Fieldtrip to Geneva to research the development of the wristwatch as a luxury good.

Contrived Dereliction (2013)

Role: Principal Investigator

Call: RCA Research and Knowledge Exchange Costs

Drawing on fieldwork at mining heritage sites in North America & Europe, this project developed the concept of ‘contrived dereliction’ as a presentation strategy.

AHRC Doctoral Scholarship (2008-2012)

Role: PhD Candidate

Funding Call: AHRC Doctoral Awards

Three years fee payments & living allowance to undertake a doctoral project at UCL.

SouthWest Lifelong Learning Network (SWLLN) (2006-2008)

Role: Heritage and Cultural Tourism Representative

Call HEFCE/LSC/DfES Lifelong Learning Networks

A consortium development project focused on enhancing vocational education options in public services, cultural services, heritage & tourism across Cornwall, Devon, Dorset, Somerset, & south Wiltshire.

Academic Journal Articles

Oakley, P. (2022) 'Sourcing Pure Gold: the rise and impact of ethical gold certification programmes in the UK and Switzerland 2011-2021', Environmental Science and Policy, special edition on SDGs and ASM.

Oakley, P. (2021) 'Wuthigrai Siriphon: Highlighting Tradition', Craft Research, 12 (2).

Oakley, P. (2018) ‘After Mining: contrived dereliction, dualistic time and the moment of rupture in the presentation of mining heritage’, Extractive Industries and Society 5 (2).

Oakley, P. (2017) ‘Is Gold Jewelry Money?’ Social Analysis 61 (4).

Oakley, P. (2015) ‘Ticking Boxes: (re)constructing the wristwatch as a luxury object’, Luxury: History, Culture, Consumption, 1 (2).


Crimmin, M. & Oakley, P. (2020) This Is No Longer That Place: a handbook on the events. London: Royal College of Art.

Book Chapters

Oakley, P. (2020) ‘Is Gold Jewelry Money?’ in: Sandy Ross and Mario Scmidt (eds), Money Counts: Revisiting Economic Calculation: New York & Oxford: Berghahn.

Oakley, P. (2015) ‘Introducing Fairtrade and Fairmined Gold: An attempt to reconfigure the social identity of a substance’, in: Adam Drazin and Susanne Kuechler (eds), The Social Life of Materials, London: Bloomsbury.

Oakley, P. (2015) ‘A Permanent State of Decay: Contrived dereliction at heritage mining sites’, in: Hilary Orange (ed.), Reanimating Industrial Spaces. Walnut Creek, CA: Left Coast Press.

Oakley, P. (2014) 'Contrived Dereliction: Employing an aesthetic of decay at mining heritage sites', in: Mike Robinson et al (eds.) Cultural Heritage and Tourism Vol.2: Engagement and Experience. Taipei: Farterng Culture CO.

Oakley, P. & Küchler,S. (2013) ‘New Materials and their Impact on the Material World’, in: Penny Harvey, Eleanor Casella, Gillian Evans, Hannah Knox, Christine McLean, Elizabeth B. Silva, Nicholas Thoburn, Kath Woodward (eds), Objects and Materials: A Routledge Companion, London: Routledge.

Oakley, P. (2013) ‘Containing Precious Metals: the material consequences of hallmarking in modern and medieval England’, in: Hans Peter Hahn and Hadas Weis (eds), Mobility, Meaning and Transformations of Things: Shifting contexts of material culture through time and space, Oxford: Oxbow Books.

Oakley, P. (2008) ‘Praxeological Subjectification: the hidden power of practical activities’, in: Kate Hatton (ed.), Design Pedagogy Research, Huddersfield: Jeremy Mills.

Published Conference Papers

Oakley, P. (2019) ‘Ethical Gold: Why Manufacturing Methods Matter’. The Goldsmiths’ Company Jewellery Materials Congress. London: The Goldsmiths’ Company.

Oakley, P. (2018) ‘Creating a Brighter Future? Responses to the commercialisation of a new ceramic print technology’. Making Futures 5. Plymouth College of Art.

Oakley, P. (2016) ‘Digital Crafting: Defining the Field in 2015’, Making Futures 4. Plymouth College of Art.

Oakley, P. (2015) 'Digital Crafting: Re-evaluating Promises and Pitfalls'. In: Making Futures Korea: Craft, meeting the new through changes in perception. Cheongju: Cheongju International Craft Biennale Committee.

Oakley, P. (2014) ‘Crafting with Digital Technologies: issues in practice’, Making Futures 3, Plymouth College of Art.

Oakley, P. (2010) ‘Does Contemporary Craft Carry a Social Deficit? An analysis through comparison with related creative practises’, Making Futures 1. Plymouth College of Art.

Industry Journal Publications

Oakley, P. (2012) ‘Reflections on Ethical Gold’, in: The Goldsmiths’ Company Technical Journal 2012.

Oakley, P. (2010) ‘The Ethical Gold Series’ for Benchpeg.

  1. ‘Introducing Ethical Gold’, in: Benchpeg 162
  2. ‘So What’s Wrong with Gold Mining Anyway?’ in: Benchpeg 167
  3. ‘Industrial Mining and Anti-Mining Campaigns’, in Benchpeg 173
  4. ‘Why is ASM Different?’, in: Benchpeg 178
  5. ‘Fairtrade and Fairmined Gold', in: Benchpeg 187

Working Reports

Dare, E., Simmons, T., Ramanathan, R. and Oakley, P. (2019) Crafting Futures: Scoping visit reports and proposals for pilot projects in Uzbekistan, Kazakhstan, and Kyrgyzstan.


Oakley, P. (2019) Material Disciplines in the Shanghai Art World. AFI Report No.2. http://researchonline.rca.ac.uk/id/eprint/4007

Published Book Reviews

Oakley, P. (2018) Reviewed work: ‘L’Invention du Luxe: histoire de l’industrie horlogère à Genève de 1815 à nos jours’ [by Pierre-Yves Donzé, 2017]. Review published in Luxury: History, Culture, Consumption, vol.5, no.1.

Advisory Roles

Advisor for the Scottish Goldsmith Trust's Ethical Making Resource, 2017-ongoing.

Advisor for Wooden Reed Making of the ethnic Lao Khrang in Thailand. 2019-2021.

Advisor for the British Council report: Empowerment of Women and Girls through Craft, Digital Technology and Entrepreneurship in Afghanistan, Bangladesh and Pakistan, 2017.

Steering Group member for the Craft Council report: Innovation through Craft: Opportunities for Growth, 2015-2016.

Advisory Board member for the Geneva-based Sustainable Luxury Forum, 2013-2015.

Specialist Panel member for the FLO Fairtrade Gold certification standard review, 2012.

Journal Editorial Board Memberships

Editorial Advisory Board member for In Pursuit of Luxury (2021-onging)

Editorial Advisory Board member for Luxury: History, Culture, Consumption (2014-onging)

UKRI Support Activities

Member of the Interfolio Strategic Committee for Researchfish. 2021-ongoing.

Member of the AHRC Peer Review College. 2017-ongoing.

Member of the ResearchFish Steering Board. 2017-2021.

Professional Association Memberships

Fellow of the Royal Anthropological Institution (RAI)

Member of the European Association of Social Anthropologists (EASA)

Member of the Society for the History of Alchemy & Chemistry (SHAC)

Member of the Society of Jewellery Historians (SJH)

Member of the Association of Research Managers & Assistants (ARMA)

Research Group Memberships

Material Engagements Research Cluster (RCA School of Arts and Humanities)

Anthropology of Mining Network (European Association of Social Anthropologists)

Association for the Discussion of History of Chemistry (University of Cambridge)

Winchester Luxury Research Group (University of Southampton)


Member of the judging panel for the Royal Academy of Arts' 2015 Ceramic Architectural Installation competition.